Gertrude P. Dyer - "Little Pollie"

Various - "The Best Short Stories of 1915"

Charles Churchill - "Poetical Works"

Anonymous - "The Book Of The Thousand Nights And One Night, Volume III"

Annual Bibliography of Commonwealth Literature 2007
This paper argues that discourses of love in Ghanaian market literature for youth offer a view into complex negotiations of agency and empowerment. Drawing on Deborah Durham's notion of youth as "social `shifters'" and Francis Nyamnjoh's conception of the "interconnectedness" of agency, I take Ghanaian market literature as one specific case of how African literature for youth foregrounds questions of continuity and change as African societies enter into increasingly complex global relations. In this literature for youth, received notions of love, often constructed out of impressions from American pop and hip hop music, carry new notions of agency that compete with existing "domesticated" forms. Authors like Ike Tandoh and Evelyn Tay employ discourses of love to offer youth alternative avenues for empowerment in a context of socio-economic disenfranchizement. In a creative process of "straddling", this writing both reveals and reproduces the contradictions that obtain in youth configurations of agency.

The Complete Poems of Sir Thomas Moore

T >> Thomas Moore et al >> The Complete Poems of Sir Thomas Moore




Behold!--my boys a goblet bear,
Whose sparkling foam lights up the air.
Where are now the tear, the sigh?
To the winds they fly, they fly!
Grasp the bowl; in nectar sinking,
Man of sorrow, drown thy thinking!
Say, can the tears we lend to thought
In life's account avail us aught?
Can we discern with all our lore,
The path we've yet to journey o'er?
Alas, alas, in ways so dark,
'Tis only wine can strike a spark!

Then let me quaff the foamy tide,
And through the dance meandering glide;
Let me imbibe the spicy breath
Of odors chafed to fragrant death;
Or from the lips of love inhale
A more ambrosial, richer gale!
To hearts that court the phantom Care,
Let him retire and shroud him there;
While we exhaust the nectared bowl,
And swell the choral song of soul
To him, the god who loves so well
The nectared bowl, the choral swell!






ODE XXXIX.


How I love the festive boy,
Tripping through the dance of joy!
How I love the mellow sage,
Smiling through the veil of age!
And whene'er this man of years
In the dance of joy appears,
Snows may o'er his head be flung,
But his heart--his heart is young.






ODE XL.


I know that Heaven hath sent me here,
To run this mortal life's career;
The scenes which I have journeyed o'er,
Return no more--alas! no more!
And all the path I've yet to go,
I neither know nor ask to know.
Away, then, wizard Care, nor think
Thy fetters round this soul to link;
Never can heart that feels with me
Descend to be a slave to thee!
And oh! before the vital thrill,
Which trembles at my heart is still,
I'll gather Joy's luxuriant flowers,
And gild with bliss my fading hours;
Bacchus shall bid my winter bloom,
And Venus dance me to the tomb!






ODE XLI.

When Spring adorns the dewy scene,
How sweet to walk the velvet green,
And hear the west wind's gentle sighs,
As o'er the scented mead it flies!
How sweet to mark the pouting vine,
Ready to burst in tears of wine;
And with some maid, who breathes but love,
To walk, at noontide, through the grove,
Or sit in some cool, green recess--
Oh, is this not true happiness?






ODE XLII.[1]


Yes, be the glorious revel mine,
Where humor sparkles from the wine.
Around me, let the youthful choir
Respond to my enlivening lyre;
And while the red cup foams along,
Mingle in soul as well as song.
Then, while I sit, with flowerets crowned,
To regulate the goblets round.
Let but the nymph, our banquet's pride,
Be seated smiling by my side,
And earth has not a gift or power
That I would envy, in that hour.
Envy!--oh never let its blight
Touch the gay hearts met here tonight.
Far hence be slander's sidelong wounds,
Nor harsh dispute, nor discord's sounds
Disturb a scene, where all should be
Attuned to peace and harmony.

Come, let us hear the harp's gay note
Upon the breeze inspiring float,
While round us, kindling into love,
Young maidens through the light dance move.
Thus blest with mirth, and love, and peace,
Sure such a life should never cease!


[1] The character of Anacreon is here very strikingly depicted. His love
of social, harmonized pleasures, is expressed with a warmth, amiable and
endearing.






ODE XLIII.


While our rosy fillets shed
Freshness o'er each fervid head,
With many a cup and many a smile
The festal moments we beguile.
And while the harp, impassioned flings
Tuneful rapture from its strings,[1]
Some airy nymph, with graceful bound,
Keeps measure to the music's sound;
Waving, in her snowy hand,
The leafy Bacchanalian wand,
Which, as the tripping wanton flies,
Trembles all over to her sighs.
A youth the while, with loosened hair,
Floating on the listless air,
Sings, to the wild harp's tender tone,
A tale of woe, alas, his own;
And oh, the sadness in his sigh.
As o'er his lips the accents die!
Never sure on earth has been
Half so bright, so blest a scene.
It seems as Love himself had come
To make this spot his chosen home;--[2]
And Venus, too, with all her wiles,
And Bacchus, shedding rosy smiles,
All, all are here, to hail with me
The Genius of Festivity!


[1] Respecting the barbiton a host of authorities may be collected, which,
after all, leave us ignorant of the nature of the instrument. There is
scarcely any point upon which we are so totally uninformed as the music of
the ancients. The authors extant upon the subject are, I imagine, little
understood; and certainly if one of their moods was a progression by
quarter-tones, which we are told was the nature of the enharmonic scale,
simplicity was by no means the characteristic of their melody; for this is
a nicety of progression of which modern music is not susceptible. The
invention of the barbiton is, by Athenaeus, attributed to Anacreon.

[2] The introduction of these deities to the festival is merely
allegorical. Madame Dacier thinks that the poet describes a masquerade,
where these deities were personated by the company in masks. The
translation will conform with either idea.






ODE XLIV.[1]


Buds of roses, virgin flowers,
Culled from Cupid's balmy bowers,
In the bowl of Bacchus steep,
Till with crimson drops they weep.
Twine the rose, the garland twine,
Every leaf distilling wine;
Drink and smile, and learn to think
That we were born to smile and drink.
Rose, thou art the sweetest flower
That ever drank the amber shower;
Rose, thou art the fondest child
Of dimpled Spring, the wood-nymph wild.
Even the Gods, who walk the sky,
Are amorous of thy scented sigh.
Cupid, too, in Paphian shades,
His hair with rosy fillets braids,
When with the blushing sister Graces,
The wanton winding dance he traces.
Then bring me, showers of roses bring,
And shed them o'er me while I sing.
Or while, great Bacchus, round thy shrine,
Wreathing my brow with rose and vine,
I lead some bright nymph through the dance,
Commingling soul with every glance!


[1] This spirited poem is a eulogy on the rose; and again, in the fifty-
fifth ode, we shall find our author rich in the praises of that flower. In
a fragment of Sappho, in the romance of Achilles Tatius, to which Barnes
refers us, the rose is fancifully styled "the eye of flowers;" and the
same poetess, in another fragment, calls the favors of the Muse "the roses
of the Pleria."






ODE XLV.


Within this goblet, rich and deep,
I cradle all my woes to sleep.
Why should we breathe the sigh of fear,
Or pour the unavailing tear?
For death will never heed the sigh,
Nor soften at the tearful eye;
And eyes that sparkle, eyes that weep,
Must all alike be sealed in sleep.
Then let us never vainly stray,
In search of thorns, from pleasure's way;
But wisely quaff the rosy wave,
Which Bacchus loves, which Bacchus gave;
And in the goblet, rich and deep,
Cradle our crying woes to sleep.






ODE XLVI.[1]


Behold, the young, the rosy Spring,
Gives to the breeze her scented wing:
While virgin Graces, warm with May;
Fling roses o'er her dewy way.
The murmuring billows of the deep
Have languished into silent sleep;
And mark! the flitting sea-birds lave
Their plumes in the reflecting wave;
While cranes from hoary winter fly
To flutter in a kinder sky.
Now the genial star of day
Dissolves the murky clouds away;
And cultured field, and winding stream,
Are freshly glittering in his beam.

Now the earth prolific swells
With leafy buds and flowery bells;
Gemming shoots the olive twine,
Clusters ripe festoon the vine;
All along the branches creeping,
Through the velvet foliage peeping,
Little infant fruits we see,
Nursing into luxury.


[1] The fastidious affectation of some commentators has denounced this ode
as spurious. Degen pronounces the four last lines to be the patch-work of
some miserable versificator, and Brunck condemns the whole ode. It appears
to me, on the contrary, to be elegantly graphical: full of delicate
expressions and luxuriant imagery.






ODE XLVII.


'Tis true, my fading years decline,
Yet can I quaff the brimming wine,
As deep as any stripling fair,
Whose cheeks the flush of morning wear;
And if, amidst the wanton crew,
I'm called to wind the dance's clue,
Then shalt thou see this vigorous hand,
Not faltering on the Bacchant's wand,
But brandishing a rosy flask,
The only thyrsus e'er I'll ask![1]

Let those, who pant for Glory's charms,
Embrace her in the field of arms;
While my inglorious, placid soul
Breathes not a wish beyond this bowl.
Then fill it high, my ruddy slave,
And bathe me in its brimming wave.
For though my fading years decay,
Though manhood's prime hath past away,
Like old Silenus, sire divine,
With blushes borrowed from my wine.
I'll wanton mid the dancing train,
And live my follies o'er again!


[1] Phornutus assigns as a reason for the consecration of the thyrsus to
Bacchus, that inebriety often renders the support of a stick very
necessary.






ODE XLVIII.


When my thirsty soul I steep,
Every sorrow's lulled to sleep.
Talk of monarchs! I am then
Richest, happiest, first of men;
Careless o'er my cup I sing,
Fancy makes me more than king;
Gives me wealthy Croesus' store,
Can I, can I wish for more?
On my velvet couch reclining,
Ivy leaves my brow entwining,[1]
While my soul expands with glee,
What are kings and crowns to me?
If before my feet they lay,
I would spurn them all away;
Arm ye, arm ye, men of might,
Hasten to the sanguine fight;
But let _me_, my budding vine!
Spill no other blood than thine.
Yonder brimming goblet see,
That alone shall vanquish me--
Who think it better, wiser far
To fall in banquet than in war,


[1] "The ivy was consecrated to Bacchus [says Montfaucon], because he
formerly lay hid under that tree, or as others will have it, because its
leaves resemble those of the vine." Other reasons for its consecration,
and the use of it in garlands at banquets, may be found in Longepierre,
Barnes, etc.






ODE XLIX.


When Bacchus, Jove's immortal boy,
The rosy harbinger of joy,
Who, with the sunshine of the bowl,
Thaws the winter of our soul--
When to my inmost core he glides,
And bathes it with his ruby tides,
A flow of joy, a lively heat,
Fires my brain, and wings my feet,
Calling up round me visions known
To lovers of the bowl alone.

Sing, sing of love, let music's sound
In melting cadence float around,
While, my young Venus, thou and I
Responsive to its murmurs sigh.
Then, waking from our blissful trance,
Again we'll sport, again we'll dance.






ODE L.[1]


When wine I quaff, before my eyes
Dreams of poetic glory rise;[2]
And freshened by the goblet's dews,
My soul invokes the heavenly Muse,
When wine I drink, all sorrow's o'er;
I think of doubts and fears no more;
But scatter to the railing wind
Each gloomy phantom of the mind.
When I drink wine, the ethereal boy,
Bacchus himself, partakes my joy;
And while we dance through vernal bowers,
Whose every breath comes fresh from flowers,
In wine he makes my senses swim,
Till the gale breathes of naught but him!

Again I drink,--and, lo, there seems
A calmer light to fill my dreams;
The lately ruffled wreath I spread
With steadier hand around my head;
Then take the lyre, and sing "how blest
The life of him who lives at rest!"
But then comes witching wine again,
With glorious woman in its train;
And, while rich perfumes round me rise,
That seem the breath of woman's sighs,
Bright shapes, of every hue and form.
Upon my kindling fancy swarm,
Till the whole world of beauty seems
To crowd into my dazzled dreams!
When thus I drink, my heart refines,
And rises as the cup declines;
Rises in the genial flow,
That none but social spirits know,
When, with young revellers, round the bowl,
The old themselves grow young in soul!
Oh, when I drink, true joy is mine,
There's bliss in every drop of wine.
All other blessings I have known,
I scarcely dared to call my own;
But this the Fates can ne'er destroy,
Till death o'ershadows all my joy.


[1] Faber thinks this ode spurious; but, I believe, he is singular in his
opinion. It has all the spirit of our author. Like the wreath which he
presented in the dream, "it smells of Anacreon."

[2] Anacreon is not the only one [says Longepierre] whom wine has inspired
with poetry. We find an epigram in the first book of the "Anthologia,"
which begins thus:--

If with water you fill up your glasses,
You'll never write anything wise;
For wine's the true horse of Parnassus.
Which carries a bard to the skies!






ODE LI.


Fly not thus my brow of snow,
Lovely wanton! fly not so.
Though the wane of age is mine,
Though youth's brilliant flush be thine,
Still I'm doomed to sigh for thee,
Blest, if thou couldst sigh for me!
See, in yonder flowery braid,
Culled for thee, my blushing maid,[1]
How the rose, of orient glow,
Mingles with the lily's snow;
Mark, how sweet their tints agree,
Just, my girl, like thee and me!


[1] In the same manner that Anacreon pleads for the whiteness of his
locks, from the beauty of the color in garlands, a shepherd, in
Theocritus, endeavors to recommend his black hair.






ODE LII.[1]


Away, away, ye men of rules,
What have I do with schools?
They'd make me learn, they'd make me think,
But would they make me love and drink?
Teach me this, and let me swim
My soul upon the goblet's brim;
Teach me this, and let me twine
Some fond, responsive heart to mine,
For, age begins to blanch my brow,
I've time for naught but pleasure now.

Fly, and cool, my goblet's glow
At yonder fountain's gelid flow;
I'll quaff, my boy, and calmly sink
This soul to slumber as I drink.
Soon, too soon, my jocund slave,
You'll deck your master's grassy grave;
And there's an end--for ah, you know
They drink but little wine below!


[1] "This is doubtless the work of a more modern poet than Anacreon; for
at the period when he lived rhetoricians were not known."--DEGEN.

Though this ode is found in the Vatican manuscript, I am much inclined to
agree in this argument against its authenticity: for though the dawnings
of the art of rhetoric might already have appeared, the first who gave it
any celebrity was. Corax of Syracuse, and he flourished in the century
after Anacreon.






ODE LIII.


When I behold the festive train
Of dancing youth, I'm young again!
Memory wakes her magic trance,
And wings me lightly through the dance.
Come, Cybeba, smiling maid!
Cull the flower and twine the braid;
Bid the blush of summer's rose
Burn upon my forehead's snows;
And let me, while the wild and young
Trip the mazy dance along,
Fling my heap of years away,
And be as wild, as young as they.
Hither haste, some cordial, soul!
Help to my lips the brimming bowl;
And you shall see this hoary sage
Forget at once his locks and age.
He still can chant the festive hymn,
He still can kiss the goblet's brim;[1]
As deeply quaff, as largely fill,
And play the fool right nobly still.


[1] Wine is prescribed by Galen, as an excellent medicine for old men:
"_Quod frigidos et humbribus expletos calefaciut_," etc.; but Nature was
Anacreon's physician.

There is a proverb in Eriphus, as quoted by Athenaeus, which says, "that
wine makes an old man dance, whether he will or not."






ODE. LIV.[1]


Methinks, the pictured bull we see
Is amorous Jove--it must be he!
How fondly blest he seems to bear
That fairest of Phoenician fair!
How proud he breasts the foamy tide,
And spurns the billowy surge aside!
Could any beast of vulgar vein,
Undaunted thus defy the main?
No: he descends from climes above,
He looks the God, he breathes of Jove!


[1] "This ode is written upon., a picture which represented the rape, of
Europa."--MADAME DACIER.

It may probably have been a description of one of those coins, which the
Sidonians struck off in honor of Europa, representing a woman carried
across the sea by a bull. In the little treatise upon the goddess of
Syria, attributed very' falsely to Lucian, there is mention of this coin,
and of a temple dedicated by the Sidonians to Astarte, whom some, it
appears, confounded with Europa.






ODE LV.[1]


While we invoke the wreathed spring,
Resplendent rose! to thee we'll sing;
Resplendent rose, the flower of flowers,
Whose breath perfumes the Olympian bowers;
Whose virgin blush, of chastened dye,
Enchants so much our mortal eye.
When pleasure's spring-tide season glows.
The Graces love to wreathe the rose;
And Venus, in its fresh-blown leaves,
An emblem of herself perceives.
Oft hath the poet's magic tongue
The rose's fair luxuriance sung;
And long the Muses, heavenly maids,
Have reared it in their tuneful shades.
When, at the early glance of morn,
It sleeps upon the glittering thorn,
'Tis sweet to dare the tangled fence
To cull the timid floweret thence,
And wipe with tender hand away
The tear that on its blushes lay!
'Tis sweet to hold the infant stems,
Yet dropping with Aurora's gems,
And fresh inhale the spicy sighs
That from the weeping buds arise.

When revel reigns, when mirth is high,
And Bacchus beams in every eye,
Our rosy fillets scent exhale,
And fill with balm the fainting gale.
There's naught in nature bright or gay,
Where roses do not shed their ray.
When morning paints the orient skies,
Her fingers burn with roseate dyes;[2]
Young nymphs betray; the Rose's hue,
O'er whitest arms it kindles thro'.
In Cytherea's form it glows,
And mingles with the living snows.

The rose distils a healing balm,
The beating pulse of pain to calm;
Preserves the cold inurned clay,[3]
And mocks the vestige of decay:
And when, at length, in pale decline,
Its florid beauties fade and pine,
Sweet as in youth, its balmy breath
Diffuses odor even in death!
Oh! whence could such a plant have sprung?
Listen,--for thus the tale is sung.
When, humid, from the silvery stream,
Effusing beauty's warmest beam,
Venus appeared, in flushing hues,
Mellowed by ocean's briny dews;
When, in the starry courts above,
The pregnant brain of mighty Jove
Disclosed the nymph of azure glance,
The nymph who shakes the martial lance;--
Then, then, in strange eventful hour,
The earth produced an infant flower,
Which sprung, in blushing glories drest.
And wantoned o'er its parent breast.
The gods beheld this brilliant birth,
And hailed the Rose, the boon of earth!
With nectar drops, a ruby tide,
The sweetly orient buds they dyed,[4]
And bade them bloom, the flowers divine
Of him who gave the glorious vine;
And bade them on the spangled thorn
Expand their bosoms to the morn.


[1] This ode is a brilliant panegyric on the rose. "All antiquity [says
Barnes] has produced nothing more beautiful."

From the idea of peculiar excellence, which the ancients attached to this
flower, arose a pretty proverbial expression, used by Aristophanes,
according to Suidas "You have spoken roses."

[2] In the original here, he enumerates the many epithets of beauty,
borrowed from roses, which were used by the poets. We see that poets were
dignified in Greece with the title of sages: even the careless Anacreon,
who lived but for love and voluptuousness, was called by Plato the wise
Anacreon--_fuit haec sapienta quondam_.

[3] He here alludes to the use of the rose in embalming; and, perhaps (as
Barnes thinks), to the rosy unguent with which Venus anointed the corpse
of Hector.

[4] The author of the "Pervigilium Veneris" (a poem attributed to
Catullus, the style of which appears to me to have all the labored
luxuriance of a much later period) ascribes the tincture of the rose to
the blood from the wound of Adonis.






ODE LVI.


He, who instructs the youthful crew
To bathe them in the brimmer's dew,
And taste, uncloyed by rich excesses,
All the bliss that wine possesses;
He, who inspires the youth to bound
Elastic through the dance's round,--
Bacchus, the god again is here,
And leads along the blushing year;
The blushing year with vintage teems,
Ready to shed those cordial streams,
Which, sparkling in the cup of mirth,
Illuminate the sons of earth![1]

Then, when the ripe and vermil wine,--
Blest infant of the pregnant vine,
Which now in mellow clusters swells,--
Oh! when it bursts its roseate cells,
Brightly the joyous stream shall flow,
To balsam every mortal woe!
None shall be then cast down or weak,
For health and joy shall light each cheek;
No heart will then desponding sigh,
For wine shall bid despondence fly.
Thus--till another autumn's glow
Shall bid another vintage flow.


[1] Madame Dacier thinks that the poet here had the nepenthe of Homer in
his mind. Odyssey, lib. iv. This nepenthe was a something of exquisite
charm, infused by Helen into the wine of her guests, which had the power
of dispelling every anxiety. A French writer, De Mere, conjectures that
this spell, which made the bowl so beguiling, was the charm of Helen's
conversation. See Bayle, art. Helene.






ODE LVII[1]


Whose was the artist hand that spread
Upon this disk the ocean's bed?
And, in a flight of fancy, high
As aught on earthly wing can fly,
Depicted thus, in semblance warm,
The Queen of Love's voluptuous form
Floating along the silvery sea
In beauty's naked majesty!
Oh! he hath given the enamoured sight
A witching banquet of delight,
Where, gleaming through the waters clear,
Glimpses of undreamt charms appear,
And all that mystery loves to screen,
Fancy, like Faith, adores unseen.[2]

Light as a leaf, that on the breeze
Of summer skims the glassy seas,
She floats along the ocean's breast,
Which undulates in sleepy rest;
While stealing on, she gently pillows
Her bosom on the heaving billows.
Her bosom, like the dew-washed rose,
Her neck, like April's sparkling snows,
Illume the liquid path she traces,
And burn within the stream's embraces.
Thus on she moves, in languid pride,
Encircled by the azure tide,
As some fair lily o'er a bed
Of violets bends its graceful head.

Beneath their queen's inspiring glance,
The dolphins o'er the green sea dance,
Bearing in triumph young Desire,
And infant Love with smiles of fire!
While, glittering through the silver waves,
The tenants of the briny caves
Around the pomp their gambols play,
And gleam along the watery way.


[1] This ode is a very animated description of a picture of Venus on a
discus, which represented the goddess in her first emergence from the
waves. About two centuries after our poet wrote, the pencil of the artist
Apelles embellished this subject, in his famous painting of the Venus
Anadyomene, the model of which, as Pliny informs us, was the beautiful
Campaspe, given to him by Alexander; though, according to Natalis Comes,
lib. vii. cap. 16., it was Phryne who sat to Apelles for the face and
breast of this Venus.

[2] The picture here has all the delicate character of the semi-reducta
Venus, and affords a happy specimen of what the poetry of passion
_ought_ to be--glowing but through a veil, and stealing upon the heart
from concealment. Few of the ancients have attained this modesty of
description, which, like the golden cloud that hung over Jupiter and Juno,
is impervious to every beam but that of fancy.






ODE LVIII.


When Gold, as fleet as zephyr's' pinion,
Escapes like any faithless minion,[1]
And flies me (as he flies me ever),[2]
Do I pursue him? never, never!
No, let the false deserter go,
For who would court his direst foe?
But when I feel my lightened mind
No more by grovelling gold confined,
Then loose I all such clinging cares,
And cast them to the vagrant airs.
Then feel I, too, the Muse's spell,
And wake to life the dulcet shell,
Which, roused once more, to beauty sings,
While love dissolves along the strings!

But, scarcely has my heart been taught
How little Gold deserves a thought,
When, lo! the slave returns once more,
And with him wafts delicious store
Of racy wine, whose genial art
In slumber seals the anxious heart.
Again he tries my soul to sever
From love and song, perhaps forever!

Away, deceiver! why pursuing
Ceaseless thus my heart's undoing?
Sweet is the song of amorous fire.
Sweet the sighs that thrill the lyre;
Oh! sweeter far than all the gold
Thy wings can waft, thy mines can hold.
Well do I know thy arts, thy wiles--
They withered Love's young wreathed smiles;
And o'er his lyre such darkness shed,
I thought its soul of song was fled!
They dashed the wine-cup, that, by him,
Was filled with kisses to the brim.[3]
Go--fly to haunts of sordid men,
But come not near the bard again.
Thy glitter in the Muse's shade,
Scares from her bower the tuneful maid;
And not for worlds would I forego
That moment of poetic glow,
When my full soul, in Fancy's stream,
Pours o'er the lyre, its swelling theme.
Away, away! to worldlings hence,
Who feel not this diviner sense;
Give gold to those who love that pest,--
But leave the poet poor and blest.


[1] There is a kind of pun in these words, as Madame Dacier has already
remarked; for Chrysos, which signifies gold, was also a frequent name for
a slave. In one of Lucian's dialogues, there is, I think, a similar play
upon the word, where the followers of Chrysippus are called golden fishes.
The puns of the ancients are, in general, even more vapid than our own;
some of the best are those recorded of Diogenes.

[2] This grace of iteration has already been taken notice of. Though
sometimes merely a playful beauty, it is peculiarly expressive of
impassioned sentiment, and we may easily believe that it was one of the
many sources of that energetic sensibility which breathed through the
style of Sappho.

Copyright (c) 2007. topboookz.com. All rights reserved.